Feminism

In Spank an eight-second film clip has been re-edited, frame by frame, into a 7 1/2-minute video, tranforming discreet gestures into suggestive, pulsating sequences. This deconstruction of narrative Hollywood cinema exposes and intensifies the authoritative relationship between a man and a young girl. 

Future From Inside is the last in the trilogy begun in 2016, by Dani and Sheilah ReStack (also including Strangely Ordinary this Devotion and Come Coyote.) The work traces the ReStack collaboration, as it manifests in life and in work.

In April 1974, Video Data Bank co-founders Lyn Blumenthal and Kate Horsfield conducted their first interview, an in-depth conversation with art historian and curator Marcia Tucker. During the remainder of that year, Blumenthal and Horsfield went on to interview four more notable art world women: Joan Mitchell, Lucy Lippard, Agnes Martin and Ree Morton.

The final work in the Damnation of Faust Trilogy, ironically titled Charming Landscape, investigates the way in which the urban landscape is a place "where you lose your identity.” Two female residents of the inner city tell their stories in casual, on-the-street interviews. Building upon the theme of submerged violence, Birnbaum presents the fiery culmination of the legend in eerie slow-motion collage scenes of political unrest — from the lunchroom protests of Greensboro, NC, to the student revolts in Tiannanmen Square.

Based on a novel by Rita Mae Brown, Me and Rubyfruit chronicles the enchantment of teenage lesbian love against a backdrop of pornographic images and phone sex ads. Benning portrays the innocence of female romance and the taboo prospect of female marriage.

This title is also available on Sadie Benning Videoworks: Volume 1.

In Oh, Rapunzel, when Rapunzel flees the tower, Condit's mother leaves her home for an independent living facility and a freedom that she has never known. A collaboration between Cecelia Condit and Dick Blau. Music by Stephen Vogel. Re-edited in 2008.

This title is also available on Cecelia Condit Videoworks: Volume 1.

An architect and urban planner by training, Dara Birnbaum began using video in 1978 while teaching at the Nova Scotia College of Art and Design, where she worked with Dan Graham. Recognized as one of the first video artists to employ the appropriation of television images as a subversive strategy, Birnbaum recontextualizes pop cultural icons (Technology/Transformation: Wonder Woman, 1978-79) and TV genres (Kiss the Girls: Make them Cry, 1979) to reveal their subtexts.